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Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan
Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan Kirkland Introduction The title of this article is drawn from Philip Brophy’s 1983 essay which coins the neologism ‘horrality’, a merging of horror, textuality, morality and hilarity. Like Brophy’s original did of 1980s horror cinema, this article examines characteristics of survival horror videogames, seeking to illustrate the relationship between ‘new’ (media) horror and ‘old’ (media) horror. Brophy’s term structures this investigation around key issues and aspects of survival horror videogames. Horror relates to generic parallels with similarlylabelled film and literature, including gothic fiction, American horror cinema and traditional Japanese culture. Textuality examines the aesthetic qualities of survival horror, including the games’ use of narrative, their visual design and structuring of virtual spaces. Morality explores the genre’s ideological characteristics, the nature of survival horror violence, the familial politics of these texts, and their reflection on issues of institutional and bodily control. Hilarity refers to moments of humour and self reflexivity, leading to consideration of survival horror’s preoccupation with issues of vision, identification, and the nature of the videogame medium. ‘Survival horror’ as a game category is unusual for its prominence within videogame scholarship. Indicative of the amorphous nature of popular genres, Aphra Kerr notes: ‘game genres are poorly defined and evolve as new technologies and fashions emerge’;(2) an observation which applied as much to videogame academia as to the videogame industry. Within studies of the medium, various game types are commonly listed. These might include the shoot‘emup, the racing game, the platform game, the God game, the realtime strategy game, and the puzzle game,(3) the simulation, roleplaying, fighting/action, sports, traditional and ‘”edutainment”’ game,(4) or action, adventure, strategy and ‘processorientated’ games.(5) These clusters of game types tend to be broad, commonsensical, and undertheorized. -
French Horror : Penser L'image Vidéoludique Par L'horreur. Images
7 Alternative francophone (2021) Volume 2 Numéro 8 French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark. https://doi.org/10.1215/08992363-10.29173/af29417 Guillaume Baychelier [email protected] E.A. CLARE, Université Bordeaux Montaigne Résumé. Cette étude examine, à travers un corpus de jeux vidéo horrifiques développés en France sur une période de près de 25 ans, comment le renouvellement des iconographies et la relecture des codes narratifs, tout comme celui des mécaniques de jeu qui y sont habituellement employées, constituent rarement le cœur de des propositions vidéoludiques françaises. Néanmoins, nous montrons comment ces créations ont bien souvent pour point commun de mettre en perspective les procédés de mise en image qu’ils déploient, de la mise en scène au mode de modélisation adopté en passant par la question du flux des images et du regard. Il s’agit donc de voir comment l’horreur, devenue terrain de jeu avec l’image, semble être un prétexte idéal pour travailler, explorer, manipuler le médium et, ainsi, faire évoluer le média. Mots clés : Horreur; jeu vidéo; image; France Abstract. This study examines, through a corpus of horrific video games developed in France over a period of nearly 25 years, how the renewal of iconographies and the re-reading of narrative codes, as well as the game mechanics usually employed in them, rarely constitute the core of French videogame proposals. Nevertheless, we show how these creations very often have in common to put into perspective the imaging processes they deploy, from the staging to the modeling mode adopted, as well as the Alternative francophone https://journals.library.ualberta.ca/af/index.php/af 8 Guillaume Baychelier question of the flow of images and the gaze. -
Not of Woman Born: Monstrous Interfaces and Monstrosity in Video Games
NOT OF WOMAN BORN: MONSTROUS INTERFACES AND MONSTROSITY IN VIDEO GAMES By LAURIE N. TAYLOR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Laurie N. Taylor To Pete. ACKNOWLEDGMENTS I have many people to thank for this dissertation: my friends, family, and teachers. I would also like to thank the University of Florida for encouraging the study of popular media, with a high level of critical theory and competence. This dissertation also would not have been possible without the diligent help and guidance from my committee members, Donald Ault and Jane Douglas, as well as numerous other faculty members and graduate students both at the University of Florida and at other institutions. Thanks go to friends and loved ones (and cats): Colin, Jeremiah, Nix, Galahad, and Mila. And, thanks go always to Pete, for helping with research, discussion, giving me love and support, and for being wonderful. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ..............................................................................................iv ABSTRACT.................................................................................................................viii CHAPTER 1 INTRODUCTION....................................................................................................1 Introduction..............................................................................................................1 -
Stress-Induced Analgesia Through Video Game Play
STRESS-INDUCED ANALGESIA THROUGH VIDEO GAME PLAY A Thesis By KATHLEEN A. JOCOY Submitted to the Graduate School Appalachian State University In partial fulfillment of the requirements for the degree MASTER OF ARTS December 2010 Department of Psychology STRESS-INDUCED ANALGESIA THROUGH VIDEO GAME PLAY A Thesis By KATHLEEN A. JOCOY December 2010 APPROVED BY: ____________________________ Mary E. Ballard Chairperson, Thesis Committee ____________________________ Todd McElroy Member, Thesis Committee ____________________________ Mark C. Zrull Member, Thesis Committee ____________________________ James C. Denniston Chair, Department of Psychology ___________________________ Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Kathleen A. Jocoy All Rights Reserved Permission is hereby granted to the Appalachian State University Belk Library and to the Department of Psychology to display and provide access to this thesis for appropriate academic and research purposes FOREWORD This thesis is written in accordance with the style of the Publication Manual of the American Psychological Association (6th Edition) as required by the Department of Psychology at Appalachian State University I would like to thank my thesis chair, Mary E. Ballard, for her patience and guidance throughout this thesis process. Additional thanks are warranted to my dedicated thesis committee, Dr. McElroy and Dr. Zrull, and the undergraduate research assistants serving in the research lab including Mary Burton, Mary Cantrell, Trevor Dennie, Kelly Liner, James Mills, Russell Patton, Scott Rusk, and Wes Taylor. Finally, I wish to dedicate this thesis to my parents, Gregg and Nancy Jocoy. Their love and support has made my graduate school experience possible. SIA THROUGH VIDEO GAMES 1 Running head: SIA THROUGH VIDEO GAMES Stress-Induced Analgesia Through Video Game Play Kathleen Jocoy Appalachian State University SIA THROUGH VIDEO GAMES 2 Abstract Research on the positive effects of video game play suggests that video games provide an analgesic effect. -
French Horror : Penser L’Image Vidéoludique Par L’Horreur
Document generated on 09/27/2021 4:15 a.m. Alternative francophone Pour une francophonie en mode mineur French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark Guillaume Baychelier Les jeux vidéo francophones : y a-t-il une "French touche" ? Article abstract Francophone Videogames: Is there a "French touch"? This study examines, through a corpus of horrific video games developed in Volume 2, Number 8, 2021 France over a period of nearly 25 years, how the renewal of iconographies and the re-reading of narrative codes, as well as the game mechanics usually URI: https://id.erudit.org/iderudit/1077064ar employed in them, rarely constitute the core of French videogame proposals. DOI: https://doi.org/10.29173/af29417 Nevertheless, we show how these creations very often have in common to put into perspective the imaging processes they deploy, from the staging to the modeling mode adopted, as well as the question of the flow of images and the See table of contents gaze. It is thus a question of seeing how horror, which has become a playground with the image, seems to be an ideal pretext for working, exploring, manipulating the medium and, in this way, making it evolve. Publisher(s) University of Alberta, Department of Modern Languages and Cultural Studies ISSN 1916-8470 (digital) Explore this journal Cite this article Baychelier, G. (2021). French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark. Alternative francophone, 2(8), 7–27. -
Ka As Shomin-Geki: Problematizing Videogame Studies William Huber 34 Rausch Street 401 San Francisco, CA 94103 USA +1 415 861 5863 [email protected]
Ka as shomin-geki: Problematizing videogame studies William Huber 34 Rausch Street 401 San Francisco, CA 94103 USA +1 415 861 5863 [email protected] ABSTRACT The paper addresses limitations of strictly interactive theories of videogame genre, proposes a supplementary, historicist inter-media alternative, and interprets the videogame Ka as a ludic worked based in the shomin-geki tradition of Japanese cinema. Keywords Japanese cultural history, videogame genre theory, shomin-geki, domesticity, intertextuality Rather than looking at videogames in general, this paper examines one game in particular as a cultural artifact: Ka, produced in Japan in 2001, and later released in the US and Europe as Mister Mosquito. By bringing a historicist sensibility to the study of individual games in the aftermath of the initial ludology/narratology formalist discussions, the purpose of this paper is to demonstrate a way to access videogames as texts in ways that recognize their inherent, media-specific structure as videogames, yet also explore their inevitable intertextualities. To begin with, I look at some general aspects of genre theory as they affect the study of games. I then turn to the game itself, breaking out the structure in a table of interactive and narrative events. An explanation of the shomin-geki comedy drama follows, with attention to how the texts of that genre react to historical changes in the discursive field it tracks, ultimately to include Ka in its concern with the ongoing construction of domesticity in Japan. By tracking genre-formation to historical anxieties within cultural practice, and seeing game-texts as participants in intertextual, thematic genres, we can better understand how they generate discursive positions within gameplay. -
Horror Videogames and the Uncanny Ewan Kirkland Kingston University London [email protected]
Horror Videogames and the Uncanny Ewan Kirkland Kingston University London [email protected] ABSTRACT gaming community. Across survival horror can be observed This paper explores the uncanny dimensions of avatars and a movement from Sweet Home (1989) to Resident Evil 4 gamespaces in survival horror videogames. The avatar’s (2004) and Silent Hill Homecoming (2009) where playable combination of animation and lifelessness personifies characters evolve from being represented using a two- Freud’s notion of the uncanny. Simultaneously, the dimensional top-down perspectives, to fully three cybernetic interaction between player and machine, dimensional figures realised with complex texturing and whereby the digital figure appears to act with autonomy and lighting effects. In this respect the avatar has increasingly agency, unsettles the boundaries between dead object and assumed qualities of the uncanny in its close visual, living person. Spaces in survival horror games characterise auditory and perambulatory approximation to the human the uncanny architecture of horror films and literature. form – the sense of disquiet which Freud observes is Many suggest the unsettling psychological disturbance produced when ‘an inanimate object becomes too much like lurking behind the homely and the familiar. A recurring an animate one’ [5]. At the same time as becoming aspect of survival horror combines the investigation of a increasingly lifelike, there remains something unavoidably protagonist’s origins, a return to the family home, and the lifeless about the avatar. There is a robotic repetitive quality exploration of gynecological spaces – blood red corridors, to their movements – they are, in many ways, virtual womb-like caverns, bloody chambers – reproducing what is puppets. -
Fear 1 Crack Multiplayer
Fear 1 crack multiplayer Comments • 1. Default profile photo. Add a public comment Top comments. Top comments; Newest first. Link For Game: Link For How To Play Fear 3 Crack Online. All you need to get your fear 3 working is right here in this description(all links included). STEPS (this is. Descargar | ? id= Descargar Crack F.E.A.R Online para PC. More F.E.A.R. Fixes. F.E.A.R. Directors Edition v ENG · F.E.A.R. v ITA · F.E.A.R. v ITA · F.E.A.R. v ENG · F.E.A.R. v ENG. Apply the official F.E.A.R. v Patch. Replace the original & FEARMP. The official servers are down of course. There is still still some miltyplayer going on I think, but you may have to download a community patch or. BTW - FEAR 1 multiplayer (aka FEAR Combat) is Free-to-Play just download the full version (or the SEC2 patch if you have the steam. Tag: Multiplayer Fix FEAR Combat (SEC2) v Released server patch for hosting dedicated server from in-game (great for LAN parties). Server admins should unban DAMAGE_PLAYER_HACK detections caused by a bug int the previous Alpha 1 testing version. (sorry, my. FEAR Combat is the complete multiplayer component of F.E.A.R. in one downloadable file. Návod jak hrát Fear 3 po CO-OP, nebo Multiplayeru po Tunngle, Hamachi, nebo Comodo. Návod: (Tunngle) Nejprve nainstalujte Patch a poté aplikujte přiložený crack! Hru můžete hrát SmartSteam: 1) Stáhněte Steam. third installment of the F.E.A.R. -
Playstation Games
The Video Game Guy, Booths Corner Farmers Market - Garnet Valley, PA 19060 (302) 897-8115 www.thevideogameguy.com System Game Genre Playstation Games Playstation 007 Racing Racing Playstation 101 Dalmatians II Patch's London Adventure Action & Adventure Playstation 102 Dalmatians Puppies to the Rescue Action & Adventure Playstation 1Xtreme Extreme Sports Playstation 2Xtreme Extreme Sports Playstation 3D Baseball Baseball Playstation 3Xtreme Extreme Sports Playstation 40 Winks Action & Adventure Playstation Ace Combat 2 Action & Adventure Playstation Ace Combat 3 Electrosphere Other Playstation Aces of the Air Other Playstation Action Bass Sports Playstation Action Man Operation EXtreme Action & Adventure Playstation Activision Classics Arcade Playstation Adidas Power Soccer Soccer Playstation Adidas Power Soccer 98 Soccer Playstation Advanced Dungeons and Dragons Iron and Blood RPG Playstation Adventures of Lomax Action & Adventure Playstation Agile Warrior F-111X Action & Adventure Playstation Air Combat Action & Adventure Playstation Air Hockey Sports Playstation Akuji the Heartless Action & Adventure Playstation Aladdin in Nasiras Revenge Action & Adventure Playstation Alexi Lalas International Soccer Soccer Playstation Alien Resurrection Action & Adventure Playstation Alien Trilogy Action & Adventure Playstation Allied General Action & Adventure Playstation All-Star Racing Racing Playstation All-Star Racing 2 Racing Playstation All-Star Slammin D-Ball Sports Playstation Alone In The Dark One Eyed Jack's Revenge Action & Adventure -
User Profiling on the Basis of Interactions with a Computer Game
FACULTY OF COMPUTING, ENGINEERING & TECHNOLOGY USER PROFILING ON THE BASIS OF INTERACTIONS WITH A COMPUTER GAME SIMON BILLINGS JANUARY 2013 Adapting computer software to the individual user during run-time could offer substantial advantages over the current practice of tailoring software to groups of users during the development process (Stewart 2007; Charles et al. 2005; Charles & Black 2004; Houlette 2004). In order to achieve this, the computer requires information about the user, yet its ability to perceive them is severely limited (Suchman 2006 p.167; Fisher 2001). In an effort to address this shortcoming, this dissertation examines the potential for determining an individual’s personality through analysis of their interactions with commercial computer games – which, in common with cinema and literature, work on an underlying model of reality – as well as their performance in game elements using an underlying general intelligence factor, and their emotional state from visual and physiological cues. Through a program of original primary research, it demonstrates that data pertaining to several of the big five personality factors can be captured from interactions with a commercial computer game, and explores methods for predicting these personality traits using regression analysis and clustering techniques. It also employs a series of factor analyses to investigate the latent variables present in interactions with a computer role-playing game, as a foundation for further work. A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF STAFFORDSHIRE UNIVERSITY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PAGE│I ACKNOWLEDGEMENT I wish acknowledge, with immense gratitude, my debt of thanks to Dr. Len Noriega for his counsel, aid, and encouragement; to my family and friends for supporting me during the writing of this dissertation; and to Dr. -
Novel Interactions for Adventure Game Mythophobia
BACHELOROPPGAVE: Novel interactions for adventure game Mythophobia Forfattere: Lars Inge Reinsnos Sander Struijk Arild Hembre Heine Martin Brekken Dato: 20. mai 2010 Novel interactions for Adventure Game - Mythophobia Sammendrag av Bacheloroppgaven Tittel: Novel interactions for adventure game Dato: 20.05.2010 Deltakere: Lars Inge Reinsnos Sander Struijk Arild Hembre Heine Martin Brekken Veiledere: Simon McCallum Oppdragsgiver: Høgskolen i Gjøvik Kontaktperson: Øyvind Nordstrand, [email protected], 48178222 Stikkord: Spillmotor, 3D verden, XNA, interaksjoner Antall sider: 129 Antall vedlegg: 8 Tilgjengelighet: Åpen Kort beskrivelse av oppgaven: Produksjon av et PC spill med muligens utvidelse til XBOX 360, i XNA med fokus på utvikling av et innovativt spill interagerings system. Det inkluderer utviklingen av en spill motor basert på Microsofts XNA rammeverk, med bruk av spill motorens funksjoner i spillet. Disse funksjonene inkluderer tegning og oppdatering av 3D omgivelser, bruk av høyde kart (height maps), kontrollering av en spillbar karakter, administrering av inventaret til karakteren og interagering med 3D omgivelsene / verden. i Novel interactions for Adventure Game - Mythophobia Summary of Graduate Project Title: Novel interactions for adventure game Date: 20.05.2010 Participants: Lars Inge Reinsnos Sander Struijk Arild Hembre Heine Martin Brekken Supervisor: Simon McCallum Employer: Gjøvik University College Contact person: Øyvind Nordstrand, [email protected], 48178222 Keywords: Game engine, 3D world, XNA, Interaction, Pages: 129 Appendixes: 8 Availability: Open Short summary of the main project: Production of a game for PC and possibly Xbox 360 developed in XNA with focus on development of novel game interfaces. Includes development of a game engine based on the Microsoft XNA framework, and the use of the game engine features in the game. -
Silent Hill: the Terror Engine
Perron, Bernard. Silent Hill: The Terror Engine. E-book, Ann Arbor, MI: University of Michigan Press, 2012, https://doi.org/10.3998/lvg.11053908.0001.001. Downloaded on behalf of Unknown Institution Silent Hill Perron, Bernard. Silent Hill: The Terror Engine. E-book, Ann Arbor, MI: University of Michigan Press, 2012, https://doi.org/10.3998/lvg.11053908.0001.001. Downloaded on behalf of Unknown Institution LANDMARK VIDEO GAMES The Landmark Video Games book series is the first in the English language in which each book addresses a specific video game or video game series in depth, examining it in the light of a variety of approaches, including game design, genre, form, content, meanings, and its context within video game his- tory. The specific games or game series chosen are historically significant and influential games recognized not only for their quality of gameplay but also for setting new standards, introducing new ideas, incorporating new technol- ogy, or otherwise changing the course of a genre or area of video game history. The Landmark Video Games book series hopes to provide an intimate and detailed look at the history of video games through a study of exemplars that have paved the way and set the course that others would follow or emulate, and that became an important part of popular culture. Myst and Riven: The World of the D’ni by Mark J. P. Wolf Silent Hill: The Terror Engine by Bernard Perron DIGITALCULTUREBOOKS, an imprint of the University of Michigan Press, is dedicated to publishing work in new media studies and the emerging field of digital humanities.